1946-02-13/Canada/Toronto

Toronto Conservatory of fTlusic

1945 - 1946

W€Dn€SDfly
FIV€ O'CLOCKS

FIFTH CHAMBER MUSIC CONCERT

PflRLOW STRinG QUflRTCT

Kathleen Parlow - - First Violin

Samuel Hersenhoren - - Second Violin

Michael- Barten - - - Viola
Isaac Marriott - - - 'Cello

CONSERVATORY CONCERT HALL

(College Street and University Avenue)

Wednesday, February 13th, 1946 at Five o'clock

Quartet in G minor. Op. 74, No. 3, “The Rider” . Haydn (1732-1809)

This quartet, the last in the set constituting Opus 74, belongs to
Haydn’s greatest period. It is the best known of the three, and is
nick-named the “Rider” because of the jog-trot rhythms of the
opening themes in both first and last movements. The first movement
is vigorous and jolly, the second broad and singing in style (among
the most moving and finest of Haydn’s glorious slow movements), the
menuet typically graceful, the finale rollicking and good-natured. It is
worthy of note that this quartet was a particular favourite with both
Joachim and Auer.

Quarter in C min'or, Op. 2 . Zoltan Kodaly (1882)

Kodaly, one of the acknowledged leaders of the national movement
in Hungarian music, has done considerable pioneer work in collecting
pure Hungarian folk tunes. And their influence is reflected in his
many chamber music works, strangely diverse as these are — in fact,
each could seemingly have been composed by a totally different person,
although on further acquaintance we easily become aware of the char¬
acteristic qualities which link all his works in a fascinating chain.
Especially to be noted are his national feeling, a wealth of melody
and colour, exquisite and poignant harmonies, immense imaginative
power, and an absolute mastery of quartet writing. Kodaly makes
incredible demands on each instrument as such, but this only to express
his musical thoughts and never for more virtuosic display. This first
quartet really runs the gamut of human emotions, from the wildly
passionate and savage to the most tender and poetic of feelings, and it
must be played with immense “abandon”, much freedom and change
of tempo, and all the wealth of nuance and imagination at the com¬
mand of the players. It opens with a Hungarian folk tune as its main
theme. The second movement is broad and magnificently imaginative,
and works up to thrilling climaxes. The third part is a real Hungarian
Csardas, exciting and colourful; while the last movement, after a short
recapitulation of previously heard themes, introduces another Hungarian
folk tune, upon which Kodaly has constructed clever and charming
variations.

(As far as can be ascertained no previous public performance of this
quartet has been given in Canada.)

Programme

GOD SAVE THE KING

Quartet in G minor. Op. 74, No. 3, “The Rider" . Haydn

Allegro

Largo assai

Menuetto: Allegretto

Finale: Allegro con brio

Quartet in C minor. Op. 2 . Zoltan Kodaly

Andante poco rubato: Allegro
Lento assai
Presto

Allegro: Allegretto con variazioni

SIXTH CHAMBER MUSIC CONCERT

WOOD-WIND ENSEMBLE
SIR ERNEST MACMILLAN

PROGRAMME

Sonata in E flat. Op. 120, No. 2 (Variations) . Brahms

(for Clarinet and Piano)

Quintet in E flat major (k.452) . Mozart

(for Piano, Oboe, Clarinet, Horn, Bassoon)

Trio . . Poulenc

(for Piano, Oboe, Bassoon)

WEDNESDAY, FEBRUARY 27th, 1946, AT FIVE O'CLOCK